流浪地球刘慈欣观后感（流浪地球破20亿赞）

提到2019年春节档最为热门的电影，自然非《流浪地球》莫属。

2015年8月，刘慈欣凭借《三体》曾获雨果奖最佳长篇小说奖，为亚洲作家首次获奖。

2015年10月，获全球华语科幻文学最高成就奖，并被授予特级华语科幻星云勋章。

2018年11月8日，在美国华盛顿被授予克拉克想象力服务社会奖，以表彰他在科幻小说创作领域做出的贡献，刘慈欣成为获得该奖的第一位中国人！

由亚瑟·克拉克基金会设立的克拉克奖，每年度会评选出终身成就奖、想象力服务社会奖、及创新者奖三大奖项，以表彰世界上最卓越并最富创造力的思想家、科学家、作家、技术专家、商业领袖以及创新者。

亚瑟·克拉克爵士是20世纪享誉世界的英国科幻小说家，其科幻作品多以科学为依据，代表作《2001：太空漫游》于1968年被导演斯坦利·库布里克拍摄成同名电影。

在这次的克拉克奖颁奖典礼上，刘慈欣首次全程用英文演讲，并在随后与现场观众互动问答。

以下为刘慈欣本次颁奖典礼上的全程视频（后附中英文演讲实录）。

演讲结束之后与观众问答环节也很精彩。

以下为刘慈欣演讲双语对照全文：

Ladies and Gentleman,

女士们，先生们：

Good evening!

晚上好！

It’s my great honor to receive the Clarke Award for Imagination in Service to Society. Thank you.

很荣幸获得克拉克想象力服务社会奖。

This award is a reward for imagination. Imagination is a capability that should have exclusive belonged to God but we, as human beings, luckily have this too. It is far beyond our imagination to grasp the meaning of the existence of imagination. A historian used to say that the main reason why human beings have been able to surpass other species on earth and to build civilizations is that we are able to create something in our heads that does not exist in reality. In the future, when artificial intelligence becomes smarter than us, imagination may be the only advantage we have over AI.

这个奖项是对想象力的奖励，而想象力是人类所拥有的一种似乎只应属于神的能力，它存在的意义也远超出我们的想象。有历史学家说过，人类之所以能够超越地球上的其他物种建立文明，主要是因为他们能够在自己的大脑中创造出现实中不存在的东西。在未来，当人工智能拥有超过人类的智力时，想象力也许是我们所拥有的惟一优势。

Science fiction is a literary genre based on imagination. And the first sci-fi works that impressed me were those by Arthur C. Clarke. Together with Jules Verne and George Wells, Arthur Clarke was among the first Western modern sci-fi writers to enter China. In the early 1980s, the two novels 2001: A Space Odyssey and Rendezvous With Rama were published in my country. At that time, the Cultural Revolution just ended. While the old life and faith had collapsed, the new ones had not yet been established. Like other young people, I felt lost during that period. These two books, for the first time, however, brought my imagination to life. My mind opened up like it has never before. I felt like a narrow stream finally embracing the sea.

科幻小说是基于想象力的文学，而最早给我留下深刻印象的是亚瑟·克拉克的作品。除了儒勒·凡尔纳和赫伯特·乔治·威尔斯外，克拉克的作品是最早进入中国的西方现代科幻小说。在上世纪80年代初，中国出版了他的《2001：太空漫游》和《与拉玛相会》。当时文革刚刚结束，旧的生活和信仰已经崩塌，新的还没有建立起来，我和其他年轻人一样，心中一片迷茫。这两本书第一次激活了我的想象力，思想豁然开阔许多，有小溪流进大海的感觉。

At midnight when I finished reading 2001: A Space Odyssey, I walked out of the house and stared at the starry sky. I was able to see the galaxy, thanks to the unpolluted sky of China back then. That night, I noticed that the starry sky looked nothing like before. For the first time in my life, I was awed by the magnitude and mystery of our universe, the feeling which you only get facing religion. Later on, the novel Rendezvous With Rama stunned me by showing how imagination could build a lifelike, fantastic world. It was Arthur Clarke who opened up this world of feelings to me, and who paved my way to become a sci-fi writer.

读完《2001：太空漫游》的那天深夜，我走出家门仰望星空，那时的中国的天空还没有太多的污染，能够看到银河，在我的眼中，星空与过去完全不一样了，我第一次对宇宙的宏大与神秘产生了敬畏感，这是一种宗教般的感觉。而后来读到的《与拉玛相会》，也让我惊叹想象力是如何构造出一个栩栩如生的想象世界的。正是克拉克带给我的这些感受，让我后来成为一名科幻作家。

Today, more than 30 years later, it gradually dawns on me that people like me, who were born in the 1960s in China, are probably the luckiest people in human history. No generation is like us, no generation has been able to witness such tremendous changes in the world around us. The world we are living in today is completely different from that of our childhood. And such changes are taking place with even greater speed.

现在，三十多年过去了，我渐渐发现，我们这一代在上世纪60年代出生于中国的人，很可能是人类历史上最幸运的人。因为之前没有任何一代人，像我们这样目睹周围的世界发生了如此巨大的变化。我们现在生活的世界，与我们童年的世界已经完全是两个不同的世界，而这种变化还在加速发生着。

China is a highly futuristic country. It is true that the future of China may be full of challenges and risks, but never has this country been so attractive like today. This reality provides fertile soil for the growth of science fiction, and it is enjoying unprecedented attention in the country. As a Chinese sci-fi author, who was born in the 1960s, I’m the luckiest from the luckiest generation.

中国是一个充满着未来感的国度，中国的未来可能充满着挑战和危机，但从来没有像现在这样具有吸引力，这就给科幻小说提供了肥沃的土壤，使其在中国受到了空前的关注。作为一个在60年代出生在中国的科幻小说家，我则是幸运中的幸运。

I started writing sci-fi because I looked for a way to escape the dull life, and to reach out, with imagination, to the mysterious time and space that I could never truly reach. But then I realized that the world around me became more and more like science fiction, and this process is speeding up. Future is like pouring rain. It reaches us even before we have time to open the umbrella. Meanwhile, when sci-fi becomes reality, it loses all its magic, and that frustrates me. Sci-fi will soon become part of our lives. The only thing I can do, is to push my imagination further to even more distant time and space to hunt for the mysteries of sci-fi. As a sci-fi author, I think my job is to write things down before they get really boring.

我最初创作科幻小说的目的，是为了逃离平淡的生活，用想象力去接触那些我永远无法到达的神奇时空。但后来我发现，周围的世界变得越来越像科幻小说了。这种进程还在飞快地加速，未来像盛夏的大雨，在我们还不及撑开伞时就扑面而来。同时我也沮丧地发现，当科幻变为现实时，没人会感到神奇，它们很快会成为生活中的一部分。所以我只有让想象力前进到更为遥远的时间和空间中去寻找科幻的神奇，科幻小说将以越来越快的速度变成平淡生活的一部分，作为一名科幻作家，我想我们的责任就是在事情变得平淡之前把它们写出来。

This being said, the world is moving in the direction opposite to Clarke’s predictions. In 2001: A Space Odyssey, in the year of 2001, which has already passed, human beings have built magnificent cities in space, and established permanent colonies on the moon, and huge nuclear-powered spacecraft have sailed to Saturn. However, today, in 2018, the walk on the moon has become a distant memory. And the furthest reach of our manned space flights is just as long as the two-hour mileage of a high-speed train passing through my city.

但另一方面，世界却向着与克拉克的预言相反的方向发展。在《2001：太空漫游》中，在已经过去的2001年，人类已经在太空中建立起壮丽的城市，在月球上建立起永久性的殖民地，巨大的核动力飞船已经航行到土星。而在现实中的2018年，再也没有人登上月球，人类的太空中航行的最远的距离，也就是途经我所在的城市的高速列车两个小时的里程。

At the same time, information technology is developing at an unimaginable speed. The entire world is connected via the internet and people have gradually lost their interest in space, as they find themselves increasingly comfortable in the space created by IT. Instead of an exploration of the real space, which is full of difficulties, people now just prefer to experiencing virtual space through VR. Just like someone said, “You promised me an ocean of stars, but you actually gave me Facebook.”

与此同时，信息技术却以超乎想象的速度发展，网络覆盖了整个世界。在IT所营造的越来越舒适的安乐窝中，人们对太空渐渐失去了兴趣。相对于充满艰险的真实的太空探索，他们更愿意在VR中体验虚拟的太空。这像有一句话说的：“说好的星辰大海，你却只给了我Facebook。”

This reality is also reflected in science fiction. Arthur Clarke’s magnificent imagination about space has gradually faded away. People stopped looking at starry skies. In the sci-fi works today, there are more imagination about how we live in cyber utopia or dystopia. Writers focus more on various problems we encounter in reality. The imagination of science fiction is abandoning the vastness and profoundness that Arthur Clarke once opened up, instead people are now embracing the narrowness and introversion of cyberpunk.

这样的现实也反映在科幻小说中，克拉克对太空的瑰丽想象已经渐渐远去，人们的目光从星空收回。现在的科幻小说，更多地想象人类在网络乌托邦或反乌托邦中的生活，更多地关注现实中所遇到的各种问题，科幻的想象力由克拉克的广阔和深远，变成赛博朋克的狭窄和内向。

As a sci-fi writer, I have been striving to continue Arthur Clarke’s imagination. I believe that the boundless space is still the best direction and destination for human imagination. I have always written about the magnitude and mysteries of the universe, interstellar expeditions, and the lives and civilizations happening in distant worlds. This remains today, although this may seem childish or even outdated. It says on Arthur Clarke’s epitaph, “He never grew up, but he never stopped growing.”

作为科幻作家，我一直在努力延续着克拉克的想象，我相信，无垠的太空仍然是人类想象力最好的去向和归宿，我一直在描写宇宙的宏大神奇，描写星际探险，描写遥远世界中的生命和文明，尽管在现在的科幻作家中，这样会显得有些幼稚，甚至显得跟不上时代。正如克拉克的墓志铭所说：“他从未长大，但从未停止成长。”

Many people misunderstand sci-fi as trying to predict the future, but this is not true. It just makes a list of possibilities of what may happen in the future, like displaying a pile of cobblestones for people to see and play with. Science fiction can never tell which scenario of the future will actually become the real future. This is not its job. It’s also beyond its capabilities.

与人们常有的误解不同，科幻小说并不是在预测未来，它只是把未来的各种可能性排列出来，就像一堆想象力的鹅卵石，摆在那里供人们欣赏和把玩。这无数个可能的未来哪一个会成为现实，科幻小说并不能告诉我们，这不是它的任务，也超出了它的能力。

But one thing is certain: in the long run, for all these countless possible futures, any future without space travel is gloomy, no matter how prosperous our own planet becomes.

但有一点可以确定：从长远的时间纬度来看，在这无数可能的未来中，不管地球达到了怎样的繁荣，那些没有太空航行的未来都是暗淡的。

Sci-fi was writing about the age of digital information and it eventually became true. I now look forward to the time when space travel finally becomes the ordinary. By then, Mars and the asteroid belts will be boring places and countless people are building a home over there. Jupiter and its many satellites will be tourist attractions. The only obstacle preventing people from going there for good, will be the crazy price.

我期待有那么一天，像那些曾经描写过信息时代的科幻小说一样，描写太空航行的科幻小说也变得平淡无奇了，那时的火星和小行星带都是乏味的地方，有无数人在那里谋生；木星和它众多的卫星已成为旅游胜地，阻止人们去那里的唯一障碍就是昂贵的价格。

But even at that time, the universe is still unimaginably big that even our wildest imagination fails to catch its edge. And even the closest star remains out of reach. The vast ocean of stars can always carry our infinite imagination.

但即使在这个时候，宇宙仍是一个大得无法想象的存在，距我们最近的恒星仍然遥不可及。浩瀚的星空永远能够承载我们无穷的想象力。

Thank you all.

谢谢大家。

作为一位科幻小说家，刘慈欣对于中国教育也有自己的独特看法，他曾经在接受记者采访时说到：

想象力的培养，教育体制起着非常重要的作用。如果现在把中国的教育体制改成美国的体制，那会是灾难性的后果，社会公平性上就会大大受伤害。

因为高考毕竟是底层上流的有效通道，这个通道以后肯定也会被堵死，但不能是现在。中国还没有到那么一个阶级差距悬殊的地步。

“我觉得最绝望的就是这一点，不能改变这个教育体制。要是真的不合理，就不绝望了，可以把它向好的方向改。但是（现在）还不能改。

社会与文化慢慢进步，更有利于创造力的教育体制必然会出现，像美国社会这种玻璃天花板也将会出现在中国。那个时候教育就会更能培养创造力了，也不再顾及公平不公平了。“（来自财新网）

提到科幻小说与科幻电影，似乎一直是西方世界的天下，中国乃至亚洲一直都没有特别突出的作者或者作品，大家也一直觉得在想象力与创造力方面，中国似乎都不占优势。

刘慈欣的小说以及郭帆导演的流浪地球，让人们开始重新思考这个问题。

但愿在科幻领域，我们能不停收获新的惊喜。

,